I love the way you *hear*, but I love it more that you can explain it. I'm in awe as I read your notes and they exactly describe my feelings induced by this phenomenal score. <3
Heyyy thank you very much for your comment, I’m glad you enjoyed the video! As of late I had to shut down my servers due to costs but I’m planning on putting on a patreon soon so stay tuned for that :)
@@thegoodgeneral My mistake. Got them mixed up. Also it’s funny I’m from Australia and we call it the Philosopher’s stone… I guess I’ve seen too many people call it sorcerer’s stone haha.
Just as I'm looking for score reductions of Deathly Hallows 2, I stumbled onto your channel! These videos are great, and thank you so much for making them, I can't wait to see what you have in store next! ^w^
Heyyy thank you so much for the kind words, it motivates me a lot to do some more work on this!! Is there anything from deathly hallows or anything else you would like to see in a video next?
@@PlayFtopayrespect If I really had to pick, Voldemort's End or maybe "Gringotts"! Gringott's specifically has a lot of interesting parts, I feel, like those dulcimer flourishes! Though, I am curious, did you find a version of this score for purchase, or are you arranging them yourself? Parts like the Movie Reel numbers and the overdub strings make it seem like you've got a version of the score, which I'd absolutely be interested in seeing! Thank you for responding!! ^^
Hey, appreciate your work! One question though, how do you know that (at about 1:34) it repetition is in the movie but not in the score? Do you have a pdf file of the original score?
I always liked what JW did with the concert toms for this scene/film. I felt like it was the perfect symphonic answer to the "epic drums" that have taken over most film scores. I mean, I love epic drums too, but beating the crap out of some concert toms (and timpani!) is awesome as well :)
For sure! To me there's something kind of passionate and much more natural to pushing the dynamic capabilities and boundaries of acoustic percussion instead of merely increasing the gain of an orchestral drum vst. Really cool stuff indeed! Thank you for your comment :)
Hi, I was wondering what makes this track so suspenseful in a "wicked" kind of way? As if the music implide a black magic theme or something? I know this is a trippy and naive question but I hope you get my meaning Btw thanks for uploading this :)
Heyy Don! Thank you for your question, it's a good one! I'd definitely see the primary factor contributing to that effect in the harmony, which (as far as I remember, it's been a while) primarily consists of the i-minor and iii-minor. So the piece solely consists of minor harmonies. Some may associate different emotions with scalar planing of minor chords and minor harmonies in general, but to me, similarly to imperial march from star wars, it gives me a very evil vibe. Take the III chord in a minor context and its function into consideration. It's the relative major tonic of the minor key, but here the third of the chord is flattened, denying you the uplifting feeling of the relative major. Since the latter is often a choice due to this effect, the iii-minor being used here feels wicked, evil and as you perfectly put it, implies black magic. Of course the drive in this piece, so the constant triplet pattern pedal on the tonic also contributes to it and makes the whole piece very intense but I feel like the harmony makes it very dark. Anyways thank for your question and have a good one, Maxime :)
@@PlayFtopayrespect Thanks to you! John Williams scores are a treasure trove and it's nice to see the Prisoner of Azkaban scores. Plus The Deathly Hallows scores are criminally underrated
Ah yes, you're right of course, but I made a comment about that in the video itself (the Block of text at M.4). The instrumentation was changed between versions of the score. The one I had still had this pattern in the bassoons instead of the clarinets, so that's what I wrote down. Thanks anyway! :)
Magnificent work! Just make sure to have someone else proofread your reductions. Such complex scores are very tricky, and I realized you missed some flats and sharps. Good job, keep them coming!
Thank you so much! I'd be curious to which passages you're referring to so I could maybe track the mistake down (maybe due to reading transposing instruments off the score etc). Otherwise it might also just be an engraving mistake or something...I noticed only after publishing the video that the pitches on the percussion stave were completely messed up by the export for example. But yeah I'll look into that thanks! :)
@@PlayFtopayrespect I noticed some slurs that shouldn't be there for example tpt m37. And I'm really curious, hns m 128, is there really not those notes up an octave? I certainly hear horns up the octave there. Also tpt def not slurred there either
Hey Kupo! Thank you very much for your comment! The score reduction reflects exactly what is on the original orchestral score that I had at hand… Whether this was revised or played differently during the recording session, I unfortunately cannot tell you. In this sense, these score reductions are a 1 to 1 copy of their expanded counterparts and that is all I do for these videos. I love speculating around with how much might be changed during the recording sessions however; the process is very interesting! I hope you still enjoyed this video :)
@@PlayFtopayrespect Oh got it, I was wondering where you get these scores from? That is an interesting theory and I'm sure you right that things have been changed during the recording session from the score. Appreciate the video, it's very nice seeing the scores to my favorite pieces! Thanks!
Wow, I was looking for this for so long! Awesome work, man!!! If I may make a suggestion, if the next piece could be the Library Scene and the subsequent Mirror of Erised scene, that would be awesome! Once again, great work!
3:26 - 4:12 easily my favorite moment of this track. Such a delicate and brilliantly written string prelude and brass buildup. I never noticed the little things of this moment until I heard it by itself, but dang John Williams goes all out when it comes to... basically everything he's ever worked on. Thanks for the upload!
Hey Yaron, Thanks for your comment! These sort of cues are supposed to portray the action on screen musically and underline the emotions felt by the characters in order for us - the viewer or listener - to relate to them and be more included in the scene. Thus they can be very atonal and chromatic at times (see for instance the first cue "the chess board"). I might be mistaken as to what you want me to explain or analyse here, but as far as I can see there are no specific modes used throughout the piece or well maybe there are simply to many to pin them down to a few sorry :( Thanks for your question anyways and in case anyone else has another answer to Yaron's question I'd be delighted to read them and get involved in the discussion again!
Hey Lewis! Yeah I only used the original typeset orchestral score and reduced it to a maximum of 5-6 staves, same as in all my other videos. All the best and thanks for watching!
Hey Mathew! You're welcome, I'll definitely consider reducing the score of the opening from hp6! For now I can't really find it though :( I'll be on the lookout though thanks :)
damn thx mate! The support is really appreciated! Certainly agree with HP7 score being underrated... While of course nothing can meet the genius of Williams' score, this one for sure has superb drive and therefore simply becomes an instant classic in my opinion. Definetley will be doing some more Deathly Hallows in the future so wathc out for it :)! Got any suggestions or favourites you would like to see reduced/analysed?
Thanks for sharing this! To me, the most notable and unexpected element of this is from bar 19, when we get the full flight theme, which sounds triple meter to the ear, but is written as alternating bars of 4/4/ and 2/4. I'm not sure what the intend benefit or advantage of this is, but it's very curious to see it written that way on the page. It's also interesting to see how much of the orchestration is devoted to the pulsating quavers, and the arpeggiating winds, which of course are all fundamental to the (aero)dynamic nature of the cue, yet so subtle. Great work!
Hey, thanks for your comment! Yeah I found that very weird at the start as well... The only reason I can see for him to write it that way would be create a sort of lifting feeling between the chords (which also fits the situation). Williams repeats the given chord in the score, though I must say that it's not really audible. I guess the first time you can really feel that "lift" is in bar 28, as the timpani hits.
I'm not too sure what to add in response to this comment but it's a great observation. I've analyzed other Williams scores where he will frequently do something like this. Say, the music is in 4 but the melody, to the ear, sounds like it's in 3. Stravinsky used to do that a lot as well - you can find it all over The Rite of Spring! Great comment, great analysis. We're lucky to live in an era where great information of this nature is a few clicks away.
